Ludwig Scheibler

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Ludwig Scheibler

Ludwig (Adolf) Scheibler (born June 7, 1848 in Monschau , † February 5, 1921 in Bad Godesberg ) was a German art historian .

Live and act

The son of the cloth manufacturer and Prussian commercial councilor Johann Heinrich Louis Scheibler (1817–1887) and Arnoldine Adolphine Janssen (* 1824) initially completed an apprenticeship in a Burtscheider cloth factory after finishing school . He then did his military service, which he could not finish until after the Franco-Prussian War in 1871. This was followed by three years in his father's cloth factory in Monschau, before he finally studied art history at the University of Bonn from 1874 and obtained his doctorate in 1880 with his dissertation on "The anonymous masters and works of the Cologne School of Painting from 1460 to 1500" . Opponents of his dissertation were Karl Lamprecht , August Kalkmann and Eduard Schwartz . In order to deepen his knowledge, Scheibler undertook several study trips during this time, which took him through Germany, the Netherlands and northern France as well as Italy and finally to Madrid and London. He was particularly inspired by the lectures given by the art historian Carl Justi (1832–1912).

He became aware of Scheibler's dissertation and in 1880 the acting director of the Gemäldegalerie Julius Meyer (1830-1893) called him to Berlin, where Scheibler, together with Meyer and his successor Wilhelm von Bode , was allowed to compile the second edition of the permanent catalog of the exhibition works Issued in 1883. During this time, Scheibler also worked intensively on the works of Jan van Scorel and Jacob Cornelisz. van Oostsanen and brought out corresponding publications.

In autumn 1883 Scheibler moved to the Wallraf-Richartz-Museum in Cologne, where he intensified his research on old Dutch painting but also on German painting from the 13th to 16th centuries. Around 1890 Scheibler was one of the first to paint the works of the three painters of the same name Bartholomäus Bruyn the Elder , Bartholomäus Bruyn the Younger and Bartholomäus Bruyn III. characterized and classified. Scheibler's analyzes found their way into the publication by Eduard Firmenich Richartz : Bartholomäus Bruyn und seine Schule - an art historical study . From 1894 to 1896 there was an intensive collaboration with his assistant Max J. Friedländer , who at that time was also doing research in the field of old Dutch painting and later moved to Wilhelm von Bode in Berlin.

Scheiblerstrasse research on old German painter it could also meet with the family of painters Cranach, where he made important contributions to the work of Lucas Cranach the Elder provided, as in the "Cranach studies" of Eduard Flechsig was noted by the year 1900's. This also led him to research on the portrait artist Hans Maler zu Schwaz (1480–1526 / 29), who was born in Ulm and worked there for a long time, but moved to Schwaz near Innsbruck from 1517 and mainly portrayed members of the Fugger family . Since Lucas Cranach's father , who lived in Kronach at the same time, was also known as Hans Maler and was active in the same genre, this could easily lead to confusion between these two artists of the same name and of the same time. On the basis of his research, Scheibler was not only able to prove the spatial distance between the two artists, but above all was able to clearly assign the much more important works by Hans Maler from Ulm to him. Robert Vischer, who researched the same subject independently of Scheibler, came to similar results . The Austrian art historian Stefan Krause lists the corresponding evidence from Scheibler and Vischer in his dissertation on The Portraits of Hans Maler - Studies on the Early Modern Classical Portrait from 2008.

It is unclear whether Scheibler, who in the meantime, according to the Dictionary of Art Historians, was also the director of the Wallraf-Richartz-Museum, actually took on this task. In any case, as in his doctorate, he set his main focus on further research and deepening of knowledge about the Cologne School of Painting, the results of which he published together with the later director Carl Aldenhoven (1842–1907) in 1902 in a joint publication and Scheibler's main work History of Cologne Painting School published. After Scheibler's death in 1921, this research was carried out by the art historian and, from 1918, also director of the Karl Schaefer (* 1870) Museum in Cologne.

Spontaneously and for an inexplicable, incomprehensible reason, Scheibler ended his work as an art historian shortly after 1904, retired to Bad Godesberg and from then on only appeared occasionally as an autodidactic musicologist and music critic. Together with Otto Erich Deutsch , Scheibler dealt primarily with the early works of Franz Schubert . Withdrawn and almost forgotten, he spent his old age. Willi Kahl dedicated his dissertation on the literature of Franz Schubert to him in 1938 at the University of Cologne .

Characteristic

It was probably Scheibler's introverted and always sober, cool, pedantic and analytical approach that meant that he was not necessarily understood or accepted during his lifetime. His former sponsor and superior Wilhelm von Bode noted in a later assessment of Scheibler that “his shy, self-contained nature, the one-sidedness in his knowledge and interests, his hasty, indistinct language, and finally a careless marriage made him lonely has gone through the world, not friends with anyone and only known and correctly recognized by a few. As a gallery clerk, he was of no particular value to us; he did his catalog work diligently and conscientiously, but his knowledge of the older Nordic schools was of little use to us for increasing the collection, since Scheibler had too little taste and sense of quality and only considered what interested him scientifically to be gallery worthy. "

“Within this one-sidedness, however, Scheibler achieved much more than is recognized today or is even known. His method, which he did not refer to as such out of modesty, was somewhat like that of Lermolieff ( Giovanni Morelli ), but was far more versatile and conscientious and without any didactic character or the sarcastic aftertaste of the "prophet" Morelli. The only thing that mattered to him was to work through the characteristics of a painter in all directions, then to define him as an artist and in his relationship to his predecessors and successors and to set up his oeuvre.

“'Omnia mea mecum porto' he could say of himself: he was inseparable from his small, thick portfolio, which contained precisely ordered replicas of as many pictures as possible that fell into his area. On these sheets of paper he had written down in shorthand everything that came to mind for each picture. And a lot occurred to him. He didn't just stop at anatomy, ears and noses and dirty nails. He studied conception and composition, drawing, coloring, painting style, type of wood of the panels, the inscriptions on them, even the type of cracks in the paints, etc. With this and through constant comparison with related paintings, he worked out the characteristics of his artists. With his keen eye and this extremely conscientious manner of scientific research into older Dutch and German painting, Scheibler laid the foundation on which men like Max Friedländer and Georges Hulin continue to work today. "

family

Ludwig Scheibler married Sibylle Hoffend (* 1857) from Wesseling in 1884 , daughter of a grain trader. The marriage remained childless. Ludwig Scheibler's sister Julie (* 1851) and her husband Bernhard Heinrich Scheibler (1846–1918) from a cousin line of the extensive Scheibler entrepreneurial family , were the parents of Monschau mayor Walter Scheibler .

Publications (selection)

  • The most outstanding anonymous masters and works of the Cologne School of Painting from 1460 to 1500. Dissertation, Bonn 1880.
  • Ludwig Scheibler and Wilhelm Bode: Directory of the paintings by Jan van Scorel. In: Yearbook of the Berlin museums. Volume 2, 1881, p. 212 ff.
  • The paintings of Jacob Cornelisz of Amsterdam. In: Yearbook of the Prussian Cultural Collections. Volume 3, 1882 pp. 13-29.
  • Ludwig Scheibler, Julius Meyer and Wilhelm Bode: Catalog of the Royal Painting Gallery in Berlin. 2nd edition, Weidmann, Berlin 1883.
  • Schongauer and the master of the Bartholomew altar. In: Repertory for Art History. Volume 7, 1884.
  • The old German paintings at the Swabian district exhibition in Augsburg 1886. In: Repertorium für Kunstwissenschaften. Volume 10, 1887
  • A new picture of the master of the death of Mary. In: Journal of Christian Art. Volume 4, Cologne, 1891, p. 138 ff.
  • The German paintings from 1300 to 1550 in the Cologne churches. In: Journal of Christian Art. Volume 5, 1892, pp. 129-142.
  • A picture of the Madonna from the Mathias Nelles collection in Cologne. In: Journal of Christian Art. Volume 7, 1894, pp. 33-34.
  • with Carl Aldenhoven: History of the Cologne School of Painting (= publications of the Society for Rhenish History. Volume 13). Lübeck 1902 ( digitized version ).
  • The art history exhibition in Düsseldorf, 1904: The old Dutch and old German paintings. In: Repertory for Art History. Volume 27, 1904, pp. 524-572
  • Franz Schubert's unanimous songs, chants and ballads with texts by Schiller. In: Die Rheinlande , Bonn, April – September 1905.
  • Franz Schubert's unanimous songs based on Austrian poets. In: Musikbuch für Österreich 5 (1908), pp. 3–35.

literature

  • Carl Johann Heinrich Scheibler: History and genealogy of the Scheibler family . Cologne 1895 urn : nbn: de: hbz: 061: 1-37081 .
  • Wilhelm von Bode : My life . Volume 2, Reckendorf, Berlin 1930, p. 7 ( zeno.org ).
  • Hans Carl Scheibler , Karl Wülfrath : West German pedigrees. Weimar 1939.
  • Elisabeth Nay-Scheibler: The story of the Scheibler family. In: Foundation Scheibler-Museum Rotes Haus Monschau Cologne 1994.
  • Scheibler's characterization in: Heidelberger Historische Bestände Sp. 349–352 ( uni-heidelberg.de ).

Web links

Individual evidence

  1. ^ Eduard Firmenich-Richartz: Bartholomäus Bryun and his school - an art-historical study. EA Semann, Leipzig 1891 ( archive.org ).
  2. ↑ Eduard Flechsig: Cranach Studies, KW Hirsemann, Leipzig, 1900 ( archive.org ).
  3. ↑ originally Hans Sunder, called painter († before 1528), see NDB Lucas Cranach
  4. ^ Stefan Krause: The portrait of Hans painter - studies of the early modern class portrait. Vienna 2008 ( PDF ; 1.83 MB).
  5. ↑ Data unclear. If this was actually the case, it must have been before 1890, as Carl Aldenhoven held the position of director from 1890 to 1907; perhaps Scheibler was deputy director under Aldenhoven.
  6. ^ History of the Cologne School of Painting. J. Nöhring, Lübeck, 1902 ( archive.org ).
  7. ↑ Ludwig Scheibler as a Schubert critic
  8. ^ Willi Kahl: Directory of the literature about Franz Schuber 1828–1928. In: Cologne contributions to music research . Volume 1, Gustav Bosse Verlag, Regensburg 1938.
  9. ↑ Wilhelm von Bode: My life. Volume 2 section: Museum colleagues, Reckendorf, Berlin, 1930.
personal data
SURNAME Scheibler, Ludwig
ALTERNATIVE NAMES Scheibler, Ludwig Adolf (full name)
BRIEF DESCRIPTION German art historian
DATE OF BIRTH June 7, 1848
PLACE OF BIRTH Monschau
DATE OF DEATH February 5, 1921
Place of death bad Godesberg